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“I bow always to she who is the very self
of Brahma, Vishnu and Rudra,
the real form of the three gunas!
I bow always to she who is the form of moon,
sun and fire, her eyes restless with desire!
I bow always to she who is the very self of Brahma,
Vishnu and Siva, bestower of liberation whilst living,
Giver of knowledge and consciousness!”
Matrikabheda Tantra (transl. Mike Magee)
Now to verse 25 of Saundaryalahari. Continue reading »
“To be a knower of Sri Vidya one should be grounded in the Trika; to be a knower of the Trika one should be immersed in the Saiva Siddhanta; to understand Saiva Siddhanta one should be rooted in Samkhya.”
Shudranath
A friend asked me recently if I would provide her with a select bibliography for the SriVidya tradition. Approaching tantric traditions such as SriVidya as an “outsider” can be a daunting challenge, particularly if you don’t have access to practitioner communities or networks. But trying to organise even a basic “reading list” can be equally daunting, if only because SriVidya, as with most other South Asian religious currents, is heavily influenced by other traditions (tantric and otherwise). The epigraph above illustrates this, albeit tersely – that Sri Vidya, in its development, drew on many themes and concepts from the Trika traditions of Kashmir (a.k.a Kashmir Shaivism) and these in turn, require some understanding of the wider Saiva Siddhanta tradition – which was, in turn, heavily influenced by Samkhya philosophy.
This is one of the difficulties of getting to grips with tantra – there has been tendency has been to treat it as something entirely abstracted and seperate from the broader Indian cultural landscape rather than, as contemporary scholarship tends to view it – as the “esoteric wing” of wider Indian traditions (be they Buddhist, Jaina, Śaiva, Śhakta, Viṣṇu, etc.). Tantra also builds on historically earlier traditions (such as Classical Samkhya) but re-interprets them in novel ways.
So here’s a starting point – it is not intended to be comprehensive, and I’ll try and return to it periodically with updates. For the moment, I’m going to focus on scholarly works in English. Continue reading »
“She is thus the beginning and end of the process of divinization, enabling all beings, gods and humans, to become more, even up to a final blissful immersion within Her. To participate in Her bliss, novice practitioners – including attentive readers – must assent to a gradual but ultimately complete deconstruction and enhancement of their own bodies, sensations, pleasures, and relationships. One loses all of this, regains it, and then is able to see Her directly and completely. The key to entering Her world seems to be a combination of reverence, intellect, and intense curiosity, which together make deepening interior vision possible.”
Francis X. Clooney, Divine Mother, Blessed Mother: Hindu Goddesses and the Virgin Mary p177
“She the primordial Śakti who excels all and who in Her own nature is eternal, limitless bliss, is the seed of all the moving and motionless things which are to be, and is the pure mirror in which Śiva experiences Himself.”
Kāmakalāvilāsa verse 2
Now for some brief notes on verses 23-24 of Saundaryalahari. Continue reading »
In twining creepers I see your body,
in eyes of startled does your glance,
in the moon the glow and shadow of your cheek,
in the peacocks’ crested plume your hair,
in the flowing waters’ quick ripples
the capricious frown on your brow,
but no single object holds
an image of your likeness.
Kalidasa, Meghadūta
Desire (kāma) is the will to take possession [of the other] (to make the other oneself). Veiling everything with his desire, the desirer can accomplish everything, since everything has as its ultimate principle desire itself.
Abhinavagupta, Mālinīvijayavārttika (1.281)
Now to verses 21-22 of Saundaryalahari. Continue reading »
“Likely, o beloved, [by meditating on Devi] in the form of Kāmakalā emerged in the sprout of madana, with the light-circle of the rising sun, a luminous body with an expanding flame top. She exists while gulping all the beings manifested to enjoy the world.
Existing in I-ness, keeping herself within her own supreme glory, and manifesting successively down to the ground of kāma, which is within the body, manifesting in two forms whilst being alone.”
Nityāṣoḍaśikārṇava, 4.34 – 4.37 (transl. Lidke, 2000)
Now to verse 20 of Saundaryalahari:
Whoever contemplates You in his heart,
O essence of ambrosia,
abundant and radiant like an image carved in moonstone,
will quell the pride of serpents
as if he were the king of birds,
he will cure those afflicted by fever,
with the streaming nectar that showers from his glance.
(transl. Clooney, 2005, p.52)
In this non-dualist tradition, adepts affirm the distinction between subject and object (in this case between human and divine) through darśan in order to dismantle distinctions between human and divine natures. The ritual’s aim is not to affirm a sacred space occupied by the śrīcakra in order to distinguish its “sacrality” from the “profane” ordinary world but to affect a transformation in understanding concerning the everyday world by identifying it as structured through the cakra’s form.
Douglas R. Brooks, The Srividya School of Sakta Tantrism: A Study of the Texts and Contexts of the Living Traditions in South India
“In this way the united Kāma and Kalā are the (three) letters whose own form (Svarūpa) is the three Bindus. It is She who is the Mother manifest as the three Gunas (Triguṇa-svarūpiṇī) and who assumed the form of the triangle.”
Kāmakalāvilāsa, v25
“The understanding of Śaivism can only aspire to objectivity if it includes a sincere effort to see how things are in the subjective perception of its practitioners. One has to be able to enter into the spirit of their world, to be with them intimately, to see what they are saying and why they are saying it, to go beneath the surface of their texts. There has to be empathy.”
Alexis Sanderson
In the opening post to this series examining Saundaryalahari I noted that, as a text, Saundaryalahari “works” in a variety of ways: it can be read simultaneously as a literary work (Kavya); as a ritual manual (prayoga), as a work of devotion (bhakti) and as a text which hides/encodes tantric “secrets”.
When Saundaryalahari is sung, recited, listened to, contemplated upon, these multiple registers coalesce, offering a vision/encounter with the goddess (Tripurasundari Devi). As hymn or prayer, Saundaryalahari opens, points the way to – a direct encounter with Devi – an encounter which requires and produces transformation in all whom it touches. To speak, to hear, to contemplate Saundaryalahari is to enter into a direct relation with Devi – to attend Her and be attended to by Her. Continue reading »
When She, the Supreme Power, [becoming] out of her own desire, embodying all that exists perceives herself as flashing forth, the chakra then appears.
Yoginihrdaya, 9
For this post, I’m going to briefly discuss verses 14-16 of Anandalahari. Continue reading »
“Salutations to Sri Mata
Salutations to Sri Maharajni
Salulations to the Queen seated upon the lion-throne
Salutations to She who resides in the fire of consciousness
Salutations to She who shines with the red brilliance of a thousand rising suns
Salutations to She who bears the noose, the goad, the sugarcane bow; the five sense-arrows
Salutations to She whose red brilliance engulfs the universe.
Lalitasahasramana
One of the ways in which I have, for some years now, approached tantra sadhana is to start with something (relatively) simple, and then extend it with other practices as time, circumstances, and insights allow. There’s a tendency in western occulture to make a distinction between “basic” and “advanced” practices – where “basic” practices constitute something that you do for a set period and then never bother with again, and the “advanced” practices which are really, where the action is. In terms of my approach to tantra practice, I tend to think instead of “core” practices – which can be deepened and enriched over time. Continue reading »
There are many “origin stories” for Saundaryalahari. As I noted in a previous post, the text is traditionally ascribed to Sankaracarya. One of the origin stories has Sankara visiting Siva’s home on Mount Kailasa, where he notices a divine book lying on Siva’s throne – a treasured possession of Parvati. Sankara picks up the book and hastens towards the exit, but is prevented from leaving by Siva’s doorkeeper – Nandikesvara. He and Sankara fight over the book, and Sankara manages to get away with the first portion of the book – the Anandalahari – to which he later adds another 59 stanzas of his own. In another version, Sankara finds the entirety of Saundaryalahari inscribed in stone on Mount Kailasa (having been carved by Nandikesvara who overheard Siva eulogising the goddess with them) but the goddess erases the words, so that Sankara (again) – only memorises the Anandalahari section. These origin stories make a clear distinction between the Anandalahari and the remainder of the poem. Continue reading »